Tori is touring in 2017 to support the release of Native Invader. The European legs runs from early September through early October and the North American leg runs from late October to early December. We do not know if additional dates elsewhere will be added.

News: Relevant.de Interview (September 21, 2012)

[I worked with The Metropole] because they were the ones who invited me. It is not always the case that the most famous man gets the woman. It is the man who thinks to ask them.

In an interview for Austrian website Relevant, Tori answers questions about Gold Dust, working with the Metropole Orkest, The Light Princess and, for the first time that we can recall, Transmission Galactic, the record label that she’s founded.

Jump the cut for the original German and Google-translated English of the interview.

Tori Amos looks back on her career

Twenty years after their debut album with “Little Earthquakes,” the 48-year old American singer-songwriter Tori Amos looks at her 13th Studio album of her career back in: “Gold Dust” (Universal) she recorded with the Dutch Metropole Orkest 14 tracks from previous albums in new arrangements.

To mark the release and just before the start of their mini tour of the APA met the musician for an interview.

APA: How did you come up with the idea to sit down and study your song catalog from 20 years to find the songs you want to record with an orchestra again?

Tori Amos: In the past two years, my life has changed dramatically. It started when I was entrusted to the universe that I would love to play again with an orchestra, before I go. Of course, I hope that by then I still have a little time, but I wanted to do really like. In the classical world, take all the instruments at the same time – in the pop world, it works quite differently. I sit in the studio all alone against the engineers and have yet to unpack all my emotions. Then the images sent back and forth and processed and the instruments to be added to my final track. Since the Metropolitan Orchestra has invited me to play with him a concert. I had never played live with an orchestra and threw myself therefore with Elan in preparation, although I in the midst of working on my album, “Night of Hunter” was where I was involved with music of the old masters. I have not slept for a whole year and I’m almost constantly between these projects and forth hergesprungen.

APA: If you always wanted to work with an orchestra – you asked why not one of the famous? Why this little known Dutch orchestra?

Tori Amos: Because they were the ones who invited me. It is not always the case that the most famous man gets the woman. It is the man who thinks to ask them. My husband Mark is a very quiet man, not many know him. But he was the one who asked me if I would marry him. The loud, bustling types attract all the attention, but the quiet ask the right questions.

APA: What was the experience of playing with the orchestra?

Tori Amos: Even in rehearsal, the responsible people have said of Deutsche Grammophon: We need to document this! Something is different, you can see the pieces back together, but they have a very different kind of energy. Only then did the idea of ​​a plate image was shot. But we wanted to not live album of the concert, and we had not even really useful inclusion, because I have learned a lot during his first. I have some that you realize you do not play along with the orchestra can. I come from a world where I can be with my musicians improvise on stage, we agree with a few glances. With an orchestra you can improvise but not that everything has to be identified and rehearsed. The musicians need to know what’s coming.

APA: Have you ever thought of writing for this new musical situation completely new songs?

Tori Amos: Yes. In “Gold Dust”, it’s about collecting and preserving memories. It has a kind of logic to go back to the masters to analyze their music and to vary, and then re-engage with their music. 20 years after “Little Earthquakes” it was the right time to go back to the crucial intersections on my way and to think about what happened there. Before I can continue, I need to orient myself, where I come from. We will arrange for the tour a couple of “Night of Hunters” pieces for large orchestra.

APA: Will there be more dates of the new tour as the few concerts in Belgium, London, Berlin and Warsaw, which have been announced so far. Come therefore to Vienna?

Tori Amos: No. Orchestra back and herzufliegen is a big deal. In total, there are around 60 people. Unless Bernie Ecclestone wants to adopt me. Then we can talk about it again.

APA: How have you gone in your reunion with yourself?

Tori Amos: I think I was able to study the different phases and styles of my compositions well. And I’ve also noticed that I did not used to be much laughter. I was quite courageous, but I could very easily fallen into great sadness. Today I am very happy mother of a British girl and I can very quickly get out of such moods – simply by I watch my husband and my daughter. Fathers and daughters can have a great relationship. Its based more on fun and excitement than on common technical authority. My own relationship with my father was on-and-down quite a. But my father, after all believed in women’s rights and the fact that women should decide over their own bodies. A Methodist minister that was pretty progressive.

APA: Do you think that the situation for young women is easier today than at the beginning of your career, when you came in with your songs for women’s rights?

Tori Amos: In some ways yes, progress has been made. But I always tell people how bad is the situation in prostitution and human trafficking. I’m still part of the (co-founded by her, note) Women’s Emergency Network and the information with which we are confronted here, show us that this is not in Mumbai or anywhere else happened, but everywhere, in New York City as well as in Europe. And certainly in Vienna. Everywhere advised women in slave-like dependency and do not know how they can opt out. And in the 21 Century! Many women come to me and talk about their personal relationship with some of my songs, and that they had opened their eyes.

APA: Would not just this finding suggest after two concept albums with old material again to write new songs and to reflect on these things?

Tori Amos: That’s true, but if you have worked with the music of the great masters, you have to re-orient to go before one can. If you want to advance to the fourth dimension, one must first have everything under control. But the next rocket launch will be the musical “The Light Princess,” I write for the National Theatre (London, Note). It is both a fairy tale, but must girls and young women of today are interested. That’s a challenge. The book dates from the 19th Century, with a completely different perspective on women. We have been working for five years because Samuel Adamson, who has co-written the lyrics to me, is the author. As soon as you return I’ll be sitting on the compositions of this. 2013, a premiere date to be announced. But it is a big deal, because that is on the legs, the joint work of many people.

APA: You seem like this situation – not just you alone with the piano?

Tori Amos: It’s a very different experience. But when composing there is always a level of loneliness. I try to visit the Muses, but I can not just knock on their door and say: Hey, it would suit me just. That would be easier. Today I have several roles – wife, mother and artist. One can not but three parts. When you write, you have to sharpen his pencil properly and put unpleasant things under the microscope. A child would like a supportive, loving mother, not criticizing everything – so I pull myself back sometimes just. That’s why I travel a lot. Cornwall is home to Mark, he is British. Tash, our daughter attended the school in London.

APA: Do you feel yourself as an American or British?

Tori Amos: I am American, not a question. I have no rights in the UK. I’m just a guest here. But for me, be true. Mark and I have a “bikontinentale” relationship – perhaps the secret of a good marriage.

APA: You recently also founded his own record label, “Transmission Galactics”. Apparently, you believe in the future of music publishing?

Tori Amos: I believe in the future artistic development. It does, however, hardly anyone the time. Labels do not want to invest in something that does not bring immediate money. “Transmission Galactics” is a collective of a few people. There’s still in its infancy. The idea is no pressure to give artists time to develop and to support them.